James McAvoy is baring it all – no holds barred – as he steps into the spotlight once again for his new psychological thriller Speak No Evil. The Scottish actor isn’t afraid to get real about what drew him to the film’s dark themes of toxic masculinity and manipulation, and how they mirror the shifts we’re seeing in today’s society.
“It seems like it’s OK to be more extreme now, to be less compromising,” McAvoy told reporters during a candid interview. And when the conversation turned to social media and influencers like Andrew Tate, whose rise has fueled concerns over the radicalization of young men, McAvoy didn’t mince words. “People are looking for answers, and sometimes it’s easy to gravitate towards these unapologetic, strong-appearing figures,” he explained.
This is exactly what makes his character, Paddy, so captivating in Speak No Evil. Paddy is charming and confident on the surface, but behind the mask lies a manipulative figure who thrives on exploiting others. The film, a Hollywood reimagining of the chilling 2022 Danish horror by Christian Tafdrup, dives into the story of two families whose seemingly pleasant reunion takes a dark and sinister turn.
Critics are already buzzing about the tension and social commentary that simmers throughout the movie, much like the original. The remake, directed by James Watkins, brings a fresh lens to the story, focusing on the insidiousness of toxic masculinity. McAvoy’s portrayal of Paddy – a rugged, self-assured man whose allure is magnetic for the struggling Ben (played by Scoot McNairy) – is being hailed as one of the most striking performances of the year.
McAvoy openly shares how his performance as Paddy was influenced by figures like Tate, who often appeal to disaffected young men looking for role models. “They seem to have the answer, the success, the happiness,” McAvoy said, adding that these simplistic approaches to life are ultimately “unrealistic and barbaric.”
The tension between societal values and personal behavior is a central theme of the film. For McAvoy, walking the tightrope between what’s acceptable in public and the darker instincts underneath was a major draw for the role. And he’s getting rave reviews for it! The Independent called his performance “one of the most impressively repugnant of the year,” while NME praised McAvoy as “gloriously unhinged.” Not bad for a guy who’s no stranger to diving into psychologically complex roles.
The movie isn’t just about exploring the darker sides of masculinity, though. McAvoy’s character has a deeply troubled past, and this trauma is a key part of the film’s plot. In a twist on the original Danish version, Speak No Evil delves into the cycles of abuse within families, exploring how Paddy’s own violent upbringing has shaped his behavior. This theme hits home, not just for the adults but also for the children, who play a larger role in the Hollywood version.
Mackenzie Davis, who plays Louise Dalton, believes the children’s openness and instinctual communication is something adults need to rediscover. The contrast between the kids’ honesty and their parents’ inability to communicate is a powerful undercurrent throughout the movie.
Another layer of the film’s tension comes from Paddy’s relationship with his mute son, Ant. The trailer hints at Ant’s disability, but McAvoy’s portrayal reveals more than meets the eye. Ant tries to communicate in non-verbal ways, but his father’s manipulation casts a dark shadow over their bond. For McAvoy, who has portrayed characters with disabilities before, this resonates deeply. He recalls how playing Rory O’Shea, a young man with Duchenne Muscular Dystrophy, in 2004’s Inside I’m Dancing opened his eyes to the way society often treats people with disabilities.
As Speak No Evil gears up for its release, it’s clear that McAvoy is once again taking audiences on a rollercoaster ride of raw emotion, psychological tension, and societal reflection. And with reviews already pouring in, it’s safe to say this film – and McAvoy’s powerful performance – will be making waves well beyond the horror genre.
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